ABSTRACT

This article looks at the thirty-year history of the Dinard Film Festival (until 2018, the Dinard Festival of British Film), with a particular focus on the financial support provided by bodies with industrial and/or cultural remits: specifically, the UK Film Council, the British Council and the British Film Institute. As I discuss, Dinard is a significant case study for understanding the British film-industrial relationship with France, but also for analysing the interrelationship between economic and cultural policy-making in the British film industry. As I also argue, looking at the history of the Dinard festival offers a significant example of the ways such showcases for ‘national cinema’ are bound up with the shifting contexts of film-industry policymaking. As I conclude, the changing economic fortunes in British film, and the economic contexts informing UK film policy, have not only impacted on Dinard, but also given the festival a renewed outlook – as well as a more political one in the recent contexts of the UK’s EU referendum and ‘Brexit’.

摘要

本文着眼于迪纳尔电影节的三十年历史（直到 2018 年，英国电影迪纳尔节），特别关注具有工业和/或文化职权的机构提供的财政支持：特别是英国电影理事会、英国文化协会和英国电影学院。正如我所讨论的，迪纳尔是理解英国与法国电影工业关系的重要案例研究，也是分析英国电影业经济和文化决策之间相互关系的重要案例。正如我所说，回顾迪纳尔电影节的历史提供了一个重要的例子，说明这种“国家电影”的展示如何与电影业政策制定的不断变化的环境联系在一起。正如我总结的那样，英国电影中不断变化的经济命运，